Chapter 12: Interviewing Gerald Boykins – New Links to a Past Life

⚠️ Spoiler Notice: This summary contains details from Chapter 12 of Open Season. If you have not read the chapter, proceed with caution.

Summary

The murder investigation team divides tasks: Moe checks for similar .308 shootings and fields tips; Sean and Alicia research body dumps and revisit the urgent‑care facility; Petra and Raul canvass O’Brien’s building and interview neighbors and homeless people; Buck Buxby remains on call. Milo and psychologist Alex Delaware travel to Beverly Hills to interview Gerald Boykins, a former Compton Crip and record producer now living quietly in a Tudor house. Boykins is guarded by a hired security guard, Walt Swanson. Boykins initially resists but admits Paul O’Brien once worked door security at his events and that he had previously been questioned about Jamarcus Parmenter. He denies knowing any more and dismisses both murders. Milo and Alex leave with little new information but a clear sense that Boykins is hiding something.

Key Events

The team holds a meeting to divide investigative tasks: Moe handles .308 leads; Sean and Alicia research body dumps and revisit the urgent‑care facility; Petra and Raul canvass O’Brien’s building and nearby streets; Buck Buxby is kept on call.
Milo and Alex drive to Gerald Boykins’s house in the 600 block of North Bedford Drive, Beverly Hills.
Walt Swanson, a retired Venice police officer now working private security, lets them in and provides background on Boykins – a stroke survivor who spends his days listening to music.
Boykins is shocked awake by Milo and shows anger before calming after seeing the badge.
When shown Paul O’Brien’s DMV photo, Boykins admits O’Brien did door security at his events but claims not to remember the name.
Milo reveals O’Brien was murdered; Boykins does not react emotionally.
Milo mentions Jamarcus Parmenter; Boykins becomes agitated, saying he already answered questions about Parmenter and refuses to discuss further.
Boykins throws Milo and Alex out, but his stiff posture and clenched fist suggest suppressed tension.
Before they leave, Boykins calls out that he doesn’t care about the two dead “lowlifes.”

Character Development

Milo Sturgis: Demonstrates methodical police procedure by dividing resources strategically. Remains calm and persistent in the face of Boykins’s hostility.
Alex Delaware: Uses his psychological insight to observe Boykins’s body language and notes the discrepancy between his dismissive words and rigid posture. His knowledge of Bach’s Cello Suites surprises Boykins, showing Alex’s ability to engage across class and culture.
Gerald Boykins (né Jamal B.): Introduced as a former Compton Crip turned wealthy music producer, now disabled and reclusive. His anger and evasiveness hint at a hidden connection to both O’Brien and Parmenter. His claim of a “camera” memory for faces contrasts with his selective amnesia about O’Brien’s name.
Walt Swanson: A cynical ex‑cop who treats the assignment as babysitting. He provides useful background but clearly dislikes Boykins, describing him as politically conservative and low‑energy.
Keisha: Boykins’s daughter, shown studying AP calculus with a tutor. Brief appearance suggests a normal, academic life separate from her father’s past.

Themes, Symbols, or Motifs

Class and Race Mobility: Boykins’s transformation from gang member to Beverly Hills homeowner mirrors the theme of changing identity. Yet his past remains inescapable, as police still link him to violent crime.
Secrecy and Evasion: Boykins’s reluctance to discuss O’Brien or Parmenter, his headache complaint, and his final angry outburst suggest he is withholding information. The pattern of evasion is a motif in several interviews.
Old vs. New Life: The contrast between Boykins’s gang background and his present life (Bach Cello Suites, daughter’s AP calculus, tutor) highlights the tension between past and present.
Security and Surveillance: The presence of a hired guard, the gated property, and Boykins’s reliance on music as a buffer all underscore themes of isolation and the attempt to control one’s environment.

Why This Chapter Matters

Chapter 12 advances the investigation by finally connecting the two murders on paper: Paul O’Brien and Jamarcus Parmenter both had links to the same Beverly Hills man, Gerald Boykins. Boykins’s defensive reaction and prior questioning about Parmenter confirm that the case is bigger than a single shooting. The chapter also deepens the reader’s understanding of Milo’s team dynamics and the uphill battles they face — even retired cops like Swanson are unhelpful. Boykins’s hidden tension ensures that his role in the story is not yet over.

Study Questions and Answers

1. How does the chapter’s division of labor reflect Milo’s leadership style? Milo assigns tasks based on each officer’s strengths and the needs of the case: Moe handles firearms leads, Sean focuses on research and re‑interviewing witnesses, Petra and Raul conduct door‑to‑door and street outreach. Buck Buxby is kept on call for backup. This decentralized but organized approach shows Milo trusts his team and wants maximum coverage without micromanagement.

2. What does Gerald Boykins’s reaction to Milo’s questions suggest about his possible involvement? Boykins’s anger, selective memory, and physical tension (hard fist, stiff shoulders) indicate he is stressed and hiding something. He instantly recognizes both O’Brien and Parmenter but claims not to remember O’Brien’s name and refuses to discuss Parmenter. His final outburst reveals contempt for the victims, which may signal either guilt or fear of being associated with them.

3. Why does Alex’s knowledge of Bach’s Cello Suites matter in the scene? By correctly naming “saraband or bourrée,” Alex disrupts Boykins’s expectation that police are uncultured and prejudiced. This creates a brief moment of surprise but does not win Boykins’s trust; instead, Boykins uses it to belittle them. The exchange underscores Boykins’s defensiveness and his use of high culture as a shield against his past.